So now we're going to take a quick look at
Ultrafiche of You, which is one of my personal favorite songs. I have this synth,
it's called the Crumar Bit One. It's a vintage Italian synthesizer. I like to call it the
Italian Juno 106. But I really tried to make it shine here. I really think that this song sounds
the way it does because of that and without it I think it would be a completely different song.
I'll play the main melody that I recorded with it, and then I'll
play some parts where I basically took recorded
bits of the Crumar and I chopped it up and and kind of affected it and did some reverse
things and some stretch things and you know you'll get the gist of it as we as we go here.
So you know that's the main melody and there's
some variation as we go through here. There's you know this part.
So this is the chopped up bits here, so we got a lot of reverse stuff going on some you
know it's just it's literally just the Crumar, some extra samples that I recorded and kind of
mashed together to give the you know the main melody a little bit of a break and
kind of create this weird kind of flowing atmosphere. You'll hear this now here.
I find myself doing this kind of process a lot in in the music that I'm kind of working on
you know these days you know recording you know parts like this and then you know just chopping
the tails of each thing off and of each say each chord chopping just the tails off and then you
know putting in a new channel and just really kind of making a completely different melody
you know obviously in the key of the song but you can really get some interesting results when you
you know you just go in here and and you can see it's just all small chopped bits. Yeah, I had this
idea to do this for a long time and I thought that this track would be perfect to try it out because
I've always wanted to do it with piano sounds. And I was I this reminded me of this kind of beautiful
piano feeling, the Crumar sounds for this song, so I you know I just went for it here.
I'd say the Crumar Bit One is a little bit difficult to come by.
I just remember the first time I saw a picture of one. I definitely wasn't completely sure what
it sounded like but when I saw that synth, it's a beautiful synth, I thought to myself, and I still
do every time I walk in the studio and I see that piece of gear, I really want my sound to
be representative of that instrument. I think that's my go-to. It's all, it all goes back to
me trying to limit my my options and force myself to really dive into an instrument, and you know
find things that I love about it, and process it in strange ways. And if you hear something in
a song and — you know, this goes back to kind of doing the research about you know certain songs or
music or albums you know whatever you want — and you find an instrument, and you figure out what
the sound is in a certain track, and you love it that enough, just hunt that thing down. And when
you find an instrument that inspires you that much and that you're just overwhelmed with excitement
about, and that you feel is very rare, it doesn't even have to be rare but it just feels that
way to you, immerse yourself in it and see where you can take it and push it as far as you can and
get as much out of it as you can. It's just that's that's really what I try to do with this synth.